PhotoMoments.comhttp://photomoments.com/Thu, 06 Feb 2014 21:32:56 +0000en-USSite-Server v6.0.0-3772-3772 (http://www.squarespace.com)Most people don&#39;t realize, but their digital cameras are making choices for <br/>them about how their photographs will turn out. .jpg files are compressed, <br/>which means not all of the information captured by the camera ends up in <br/>the final image. The camera makes color, contrast and other choices about <br/>how the image will appear. Most prefer to let the camera accomplish this <br/>image processing, rather than spend time in Photoshop with .raw files doing <br/>it themselves (.raw files are available in higher end cameras and capture <br/>all the information without making irreversible processing choices, like <br/>.jpg files do). This is analogous to sending away your film to be <br/>developed, rather than developing it yourself in a darkroom. There are <br/>valid arguments for both manipulating every aspect of an image&#39;s creation, <br/>from fully manual shooting to .raw post processing in Photoshop to printing <br/>yourself, as well as for allowing the camera or print shop handle some of <br/>the work and focusing more on the decisive moment. Any point between these <br/>extremes can work, as long as the photographer invests his effort in the <br/>aspect of the process that channels his creative center (I have more to say <br/>about this here). Megapixels or hours logged in Photoshop matter less than <br/>what the photographer is sharing in his or her image. The popular drive <br/>for ever higher resolution is giving way to forces like Instagram, where <br/>photographers choose artistic expression over image quality. This is not a <br/>new trend. Techniques like Lomography, cross processing, and Holga <br/> cameras have been around for decades. And both trends will continue, as <br/>cameras grow ever more accurate at capturing the world, and as <br/>photographers develop ways to alter their images. To find your way as a <br/>photographer, I advise following your camera. The more you see the world <br/>through its lens, the more it will show you what&#39;s out there, as well as <br/>what&#39;s inside your own creative center. There are now more means at our <br/>disposal to make an image than ever before in history. Use them. The R in S.L.R.Alexander GrangeThu, 06 Feb 2014 21:32:50 +0000http://photomoments.com/blog/2014/2/6/the-s-l-and-r-of-an-slr518d3f26e4b00ba5bf4a0a41:51909552e4b07b22f5323a23:52f3f5e8e4b0bae912c19c97S.L.R. stands for single lens reflex. Here's a neat .gif showing the "R" in action:

When you press the shutter button, the mirror projecting the image into the eyepiece lifts up and instead the image projects directly onto the film or light sensitive chip of the camera. In the next step, the shutter opens creating the space of the aperture (the size of which depends on your f-stop setting) for the light to pass light through. There are different types of shutters, the one above is a focal plane shutter. Another example is a diaphragm shutter:

A diaphragm shutter

Finally, the mirror drops back down to its original position. All this takes place in the fraction of a second!(depending on your shutter speed)

]]>Some Recent Photography SeriesAlexander GrangeThu, 23 Jan 2014 17:14:51 +0000http://photomoments.com/blog/2014/1/23/some-recent-photography-series518d3f26e4b00ba5bf4a0a41:51909552e4b07b22f5323a23:52e14492e4b0b2b0a074c086A single image is often all you need to tell the whole story or make an impact on your viewer. A series of images, however, can sometimes paint a fuller picture. When placed together, images tend to comment on one another, thus providing a different perspective on the images than if they stood alone. Below are some recent series of note. Tell us in the comments below how viewing the images together changes your perspective.

A study of people observing the new World Trade Center. In the photographer's words: "My intention was to capture a thought provoking collection of expressions, emotions, and the diverse ethnic make-up of the visitors. To see how they reacted to what they were seeing – a place where people perished and a new place that was being rebuilt out of the ruins." via Gizmodo.

A series of an individual photographer can enlighten that photographer's work, while a series comprised of two or more photographers can shed new light on an event or idea. For the latter, take a look at 500px's series of recent unrest in Ukraine:

Finally, not to be too meta, but what does a series of series say about the selected images?

]]>A clever shooting technique from the Instagram BlogAlexander GrangeMon, 20 Jan 2014 17:52:37 +0000http://photomoments.com/blog/2014/1/20/a-clever-shooting-technique-from-the-instagram-blog518d3f26e4b00ba5bf4a0a41:51909552e4b07b22f5323a23:52dd602de4b026c919e512adCheck out the latest Instagram Blog post for a creative use of a phone camera's panorama mode discovered accidentally by user @renecharlesritchie. Here's an example from @technopaul:

Many higher end cameras and lenses are environmentally sealed. Check out DP Review or the manufacturer's website to find out if your equipment is, in which case you can have an extra bit of confidence in extreme conditions. Environmental sealing is particularly effective for lenses, but even if your equipment is not sealed, most modern cameras can withstand harsh conditions if you take proper precautions. Check the documentation that came with your gear for recommended operating temperatures for a guideline.

Using a few tricks outlined here, you'll be able to take your gear out in some of the worst weather and come away with some great shots, where others would fear to venture.

2. Keep your batteries warm!

The physics of batteries causes them to drain much faster in the cold. I recommend keeping your backup batteries insulated, either in an inside pocket or their own padded pouch close to your body. You can try cycling through your batteries by switching them out before they drain to keep them warm throughout your shoot.

Snow melts, and rain can quickly soak your gear. Some manufacturers make waterproof housings for their cameras, and there are third party options such as the EWA Marine bags such as the one to the right.

But if you're on a budget or don't find yourself shooting in extreme conditions as often as would justify purchasing a full housing, I have found success with jury rigging a plastic bag. You can cut a hole in one end just smaller than your lens and tape or rubber band the bag to it so only the end of the lens sticks out. Use a large enough bag so it covers the entire camera and the open end provides access to your controls. This is surprisingly effective at keeping your equipment out of the worst of the elements while you work.

Before and after your shoot, its important to acclimate your equipment to the change in environment. Place it near a window or in an indoor porch for at least a half an hour before and after to give your gear time to adjust.

4. Stay focused.

This involves both a clean lens and accurate focusing. Bring several lens cloths, as they can get wet quickly. You might also consider bringing a larger towel (kept in a plastic bag to keep it dry) to dry off the rest of your gear if necessary.

Keeping your images sharp can be particularly challenging with snow or if lighting conditions are poor. The handiest gear in the latter scenario would be a sturdy tripod. If snowflakes are large, they may confuse your camera's autofocus, as we learned previously. Check out the article from that link for a great piece on manual focusing in blizzard conditions. Try different shutter speeds to freeze the snow in the air (fast shutter) or to capture its motion (slow shutter).

5. Protect Yourself!

The longer you can withstand the weather, the more PhotoMoments you'll be able to capture, so dress warm.

I recommend a large hood if possible, which you can extend over your face to protect your camera as well. If you have a tripod, you can create a sort of canopy with your hood as they did when photography began.

Make sure to have extra internal pockets to keep those extra batteries warm and lenses dry. If it's really cold, use two sets of gloves with the inner set snug enough to easily control the settings on your camera. Practice before you go out to make sure you can control at least the most necessary functions such as zoom, aperture, shutter speed and of course the shutter button. If your camera has a touch sensitive screen, you might consider a pair of gloves that have capacitive fingers.

No matter how well prepared you are, accidents can happen. It's important to stay safe and make sure you are not out longer than you (or your gear) can handle.

Share your own tips and tricks, in the comments below. Submit the photographic fruits of your efforts, using the form at the bottom of any Photomoments page and you could become our next featured photographer!

Keep shooting, and stay warm!

]]>5 Winter Photography TipsThe Latest Ask a Pro QueryAlexander GrangeThu, 26 Dec 2013 17:45:49 +0000http://photomoments.com/blog/2013/12/26/the-latest-ask-a-pro-query518d3f26e4b00ba5bf4a0a41:51909552e4b07b22f5323a23:52bc6b59e4b0d1154ee93a92Here's the latest Ask a Pro question from Alan F. on the best way to backup your photos. Submit your queries here, or using the form on the bottom of any PhotoMoments.com page!]]>Check out our revamped Resources Page!Alexander GrangeTue, 17 Dec 2013 17:03:28 +0000http://photomoments.com/blog/2013/12/17/check-out-our-revamped-resources-page518d3f26e4b00ba5bf4a0a41:51909552e4b07b22f5323a23:52b083f0e4b00790051f5c3bYesterday we updated the Resources page, now with a news feed, as well as a growing list of helpful sites. Submit links you've found for us to post using the form on the bottom of any PhotoMoments.com page.]]>UPDATE: Moments Scrutinized: Image Critiques of Past #Photomoment of the dayAlexander GrangeMon, 16 Dec 2013 16:10:00 +0000http://photomoments.com/blog/2013/12/10/photomoments-of-the-day-photos-reviewed518d3f26e4b00ba5bf4a0a41:51909552e4b07b22f5323a23:52a75836e4b0bf6beb1534e3By Alexander Grange

UPDATE: The Verge has a great piece on shooting under the blizzard conditions of last week's Detroit/Philadelphia game (the source of the last image in this post). It quotes the photographer's description of the shoot, which is worth a read as well. The snow and fast moving players presented an autofocus nightmare, and where other photographers opted for wide angle shots to help the autofocus, this photographer (Kyle Grantham) stuck with his telephoto lens and actually relied on manual focus. His description of the experience deserves to be read directly:

As I mentioned before, cameras today are heavily built on their autofocus abilities. Ask any photographer about the drawbacks of a particular sports-built body and their first critique is bound to be a complaint about the autofocus system. Lenses aren’t built to be relied on for manual focus anymore either. In the golden era of film photography when legends like Neil Leifer and Walter Iooss were documenting football games from the sidelines they knew the feel of exactly how far to roll the focus dial to get the shot. They weren’t spoiled by AI Servo Tracking AutoFocus technology like we are today. As far as I can compare it to anything, it’s like taking power steering out of your car, or trying to fly the space shuttle without autopilot. But, I tried it anyway. If you don’t dare to fail you’ll never succeed. (I don’t know if someone famous said that before, but if they didn’t I’m claiming it.) I have to say, the photos I came back with are some of the best I’ve ever made at a football game, and when the snow let up in the second half, I had a new appreciation for the autofocus button I could finally flip back to “on” mode.

If you've been following @ThePhotoMoments on twitter (you should be) you will likely have noticed our #PhotoMoment of the day tweets, which feature images from around the web and from submissions from site visitors like yourself. Periodically we'll highlight and critique some of the images in a post such as this one. Part of becoming a better photographer means thinking critically about your own work and others, so keep ideas from these critiques in mind when composing your photographs. Leave your thoughts about these images in the comments below.

A great example of digital manipulation using natural elements. Most likely a composite image rather than selective alteration of an individual photo, a sort of selective double exposure. The photographer has emulated stained glass, using the trees branches as the outline and segments of various sunsets for the individual panes of glass. A critique might be found in the framing of the image, as the strong vertical branches and direction of the light lead the viewer's eye to the bottom of the page, yet the branches are cut off before they intersect. A better framing choice might have been found in a vertical orientation, or a wider view of the subject.

This image captures the energy and feeling of the moment spectacularly. The receding vertical lines from the street, the right foreground negative space, and the selective focus all draw in the viewer's eye, which is held in tension with the motion of the two figures toward the viewer. The warm color, falling rain, movement and body language of the two figures tell a story. While the girl is out of focus, this adds to the feeling of motion and excitement of the image.

Compare this to the lonelier image below, where the figures are receding from the viewer. Still a compelling photograph, yet it somehow fails to include the viewer in the moment in the same way as the first. In this image, the moped becomes a distraction, rather than a framing device as in the first. Which image do you prefer?

Another study of atmosphere and motion. The strong contrast of dark limbs with white snow and jerseys pleases the eye and helps to frame the subject, particularly since the limbs in question are bent. The story of this moment is told in singular point of the player's helmet and then elaborated upon with the falling snow. The hand coming out of the left frame to wipe off the snow, or perhaps slap the subject's hand, provide an interesting afterthought. The dark areas of the background help to define the snow and are out of focus enough to remain undistracting.

Stay tuned for future image critiques. For your chance to become a Featured Photographer, or to have your own work scrutinized, use the form below or tweet us @ThePhotoMoments. Not quite ready for the limelight? Then submit your images for private critique, or submit your questions about composition (or any other area of interest) in the form below or at Ask a Pro.

The Verge is reporting that there may be another side to the story of Obama's now infamous selfie from Nelson Mandela's memorial service. If you haven't seen the image, here it is:

The photographer, Roberto Schmidt, has posted on the Agence France-Presse blog that the image has been taken out of context, and that during the moment in question the service did not have the somber feeling as one might expect from a funeral. Here is his description:

All around me in the stadium, South Africans were dancing, singing and laughing to honour their departed leader. It was more like a carnival atmosphere, not at all morbid. The ceremony had already gone on for two hours and would last another two. The atmosphere was totally relaxed – I didn’t see anything shocking in my viewfinder, president of the US or not. We are in Africa.

He goes on to say that the image captures world leaders, who are usually in tightly controlled environments, in a rare human moment. Schimdt bemoaned the fact that the press has become obsessed with such trivialities, here to the extent that such things took on more importance than the event itself, rather than focusing on things of true importance.

What do you think? Does the photographer's description of the event change your perspective? Does the image fail in its photojournalistic mission by failing to capture the whole story? Leave your answers in the comments below.

While a picture is worth a thousand words, in this case a few words form a photographer can change a pictures whole point of view. This speaks to the power of a single photograph, as well as the importance of remembering that there are two sides to every story.

Something to keep in mind when you are out capturing your own PhotoMoments.

The fact that nearly everyone now has a camera in their pocket at all times is nothing short of a photography revolution. PhotoMoments will be here to help you navigate the ins and outs of mobile shooting with posts on topics like getting the most out of your tiny phone lenses, Instagram tips and tricks, as well as app news and suggestions. To start off, I'll walk through an overview of some of the camera tools I have on my phone.

First off, I would say the most useful feature of phone photography is automatic backup and easy sharing. I backup to two cloud locations, Dropbox and Google+ (both require downloading respective apps, which you can find links to below). For iPhone users (not me) there's also iCloud. You're less likely to backup phone photos to a computer than you are the photos from your camera, and you're MORE likely to lose/destroy your phone, so automatic backup is especially important.

Next, there are myriad apps out there that replace your stock camera app, many of which have features you wouldn't think your little phone camera could handle. If you have one you like to use, leave it in the comments below. Most people use Instagram as a one stop shop for making, editing and sharing their photos. But if you want to add some unique editing options or other features only available in a different camera app, it might be worth the extra step of using the other app first, and then uploading the image to Instagram. To do this, take or edit the photo with the app of your choice and then save it, taking note of its location. You can then open the image in Instagram and edit it further, or simply share it immediately.

Here's a short review of some alternative cameras and apps for editing on the go:

Stock Camera App Replacements:

Camera 2 (Android only) offers a wide range of filters and effects, including art, sci-fi and retro styles. The best features of this app is its live view function, where you can see how your image will look with each effect in real time.

Night camera: there are different versions for both Android and iOS, but both do remarkably well in low light situations when a flash just won't cut it. It takes multiple exposures in quick succession to blend a better result. You'll be surprised with what the app can do.

Silent Camera doesn't alter images as much as it allows taking photos without disturbing your subject. Great for street photography or shooting animals!

Apps for Editing on the go:

Aviary is a fairly advanced editing app on its own, but it has a whole host of expandable filters and effects available for purchase. The downside is spending money for advanced features, the plus side is access to some pretty neat effects.

Photoshop Express: that mainstay of professional photography, Photoshop, has not extended its dominance to the mobile market. This app has a clean and efficient interface, but is lacking in advanced features. For on the go editing, Aviary is a better option.

Google Photos: while an honorable mention for its smooth interface and excellent organizational features, the new Google Photos app still leaves much to be desired in the way of advanced editing features. While basic editing and filters are available, this app is best for easy sharing and organization. It can also be found within the Google + app.

These are just a drop in the bucket of all the apps out there that can help get the most out of your phone's camera. The best camera is the one you have with you, so take full advantage of the little one you have with you the most .

Featured Photographer is a page for both professionals and amateurs alike to submit their images or articles. Use the form at the bottom of any PhotoMoments.com page to submit a description of your work and you could become the next Featured Photographer!

An early collaborator friend of mine (whose work you can view HERE) and our modern take on Andreas Feininger's classic (see below).

Most people don't realize, but their digital cameras are making choices for them about how their photographs will turn out. .jpg files are compressed, which means not all of the information captured by the camera ends up in the final image. The camera makes color, contrast and other choices about how the image will appear. Most prefer to let the camera accomplish this image processing, rather than spend time in Photoshop with .raw files doing it themselves (.raw files are available in higher end cameras and capture all the information without making irreversible processing choices, like .jpg files do). This is analogous to sending away your film to be developed, rather than developing it yourself in a darkroom.

There are valid arguments for both manipulating every aspect of an image's creation, from fully manual shooting to .raw post processing in Photoshop to printing yourself, as well as for allowing the camera or print shop handle some of the work and focusing more on the decisive moment. Any point between these extremes can work, as long as the photographer invests his effort in the aspect of the process that channels his creative center (I have more to say about this here).

Megapixels or hours logged in Photoshop matter less than what the photographer is sharing in his or her image. The popular drive for ever higher resolution is giving way to forces like Instagram, where photographers choose artistic expression over image quality. This is not a new trend. Techniques like Lomography, cross processing, and Holga cameras have been around for decades. And both trends will continue, as cameras grow ever more accurate at capturing the world, and as photographers develop new ways to alter their images.

To find your way as a photographer, I advise following your camera. The more you see the world through its lens, the more it will show you what's out there, as well as what's inside your own creative center. There are now more means at our disposal to make an image than ever before in history.